sa ioye, que de crier en lieu public Noüel, quand il vouloit congratuler à vn Prince.”
About the same time appeared “Melanges de la Musique de Eustaché du Caurroy, Maistre de la Musique de la Chappelle du Roy,” published at Paris, by his nephew, André Picart, 1610; one year after the death of the uncle, who was born in 1549. This collection contains some Noëls, of one of which Barney gives the music.[1] In “Recueil de Poetes Gascons, Première Partie, contenant les Oeuvres de Pierre Goudelin de Toulouse,” Amsterdam, 1700, 8vo. are some carols. In 1701 a collection appeared at Dijon, in the dialect of the country, which at first gave some offence from the freedom of the carols; but they were saved partly by the naïveté of their patois, which also prevented their being perfectly understood. The first two editions were given by Le sieur Ressayre of Dijon. In 1720 an edition was published, with the title, “Noei Borguignon de Gui Barôzai,” containing thirty-four noels and two chansons, with the music to each, and an ample glossary. Many of these are written in a very free and irreverent style, and with a vein of burlesque humour quite out of character. The seventh of them sets forth the Salutation of the Virgin, and her surprise thereon, in a style that reminds the reader of the old lines,
Gaude Virgo, Mater Christi,
Quæ per aurern concepisti.
A similar conceit may also be seen, in Moliere’s “Ecole des Mans.” The salutation of the angel is quite in the manner of a petit maitre,
Po lai fenétre el antri,
Et peù de queique distance
Ai li fi lai révérance,
Car el étó bén épri.
- ↑ Hist. of Music, vol. iii. pp. 284-86.
